Sisterly Secrets
April 21, 2016
The Huntsman: Winter’s War (2016).
D: Cedric Nicolas-Troyan. DP: Phedon Papamichael. W: Evan Spiliotopoulos and Craig Mazin. Starring: Charlize Theron/Chris Hemsworth/Emily Blunt/Jessica Chastain/Nick Frost/Rob Brydon/Sheridan Smith/Alexandra Roach/Sam Claflin/Sope Disiru.
Spring may be a time of renewal, a chance for the resurrection of the beauty of spring. Yet it can also be a time to clean out lives or ideas and see what else can still work together. In an effort to continue to capitalize on the fairy tale explosion of this decade, Universal brings us the new film The Huntsman: Winter’s War. It is as boring as its title suggests and should have been more amply titled: The Queens’ War.
Director Cedric Nicolas-Troyan hails from a visual effects background and was the second unit director on both Snow White and The Huntsman and Maleficent. An in house Universal project from start to finish, the film was (despite reports) clearly commissioned to work around the exclusion of Snow White, played by Kristen Stewart in the previous film. The Huntsman: Winter’s War is thus both a prequel and a sequel. It is constructed to introduce Freya (Emily Blunt) as Ravenna’s (Charlize Theron) sister before the first film’s events. Out of grief from the loss of her child Freya then creates her Huntsman army that includes Eric (Chris Hemsworth) and his lady huntsman equivalent Sarah (Jessica Chastain). The film then jumps seven years later to a point after Ravenna’s defeat at the hands of Snow White and Eric.
The central drama of the film surely lies with Ravenna and Freya. Blunt does well to make Freya fragile yet hard hearted. It is a testament to Blunt’s likability that I excuse her blind trustfulness of her sister, the story is far too simple anyway. Hemsworth physical presence still pounds through the screen, but he is not convincing as an emotional romantic lead. Chastain’s Scottish brogue is decent, but the pair don’t have memorable chemistry. They are all a bit too Hansel & Gretal: Witch Hunters for me. The film’s production values are probably more interesting that its actors; the visual effects get you through a flimsy script.
Oscar laden costume designer Colleen Atwood continues to do stunning work. In fact the most exquisite part of the production is her work. Ravenna’s gold dipped feather coat or Freya’s crystal heavy gown are simply breathtaking. Both women wear finger length rings that tap against the ice and stone fortresses they build. The concept of Freya’s icy power unfortunately seems a bit Elsa from Frozen, but Ravenna’s birth from the gold mirror and black tar oozing violence is fit for the dominating presence of Theron.
The Huntsman: Winter’s War has come under scrutiny for attempting to be a kind of feminist vehicle toting developed female characters but failing. Sadly each character is defined by a lack of love of a man or a child. Ravenna speaks of being destined for something else, but not without recognizing her initial desire for motherhood. Her quest for power comes from vanity she sees reflected in her beloved mirror. Her vanity pushes her to build an empire, nothing more. The film ultimately becomes a love drenched cheese fest that falls short of the more beguiling Maleficent.
Bibbity Bobbity Blah
April 1, 2015
Cinderella (2015).
D: Kenneth Branagh. DP: Haris Zambarloukos. W: Chris Weitz. Starring: Lily James/Cate Blanchett/Richard Madden/Helena Bonham Carter/Derek Jacobi/Nonso Anozie/Stellan Skarsgard/Sophie McShera/Holliday Granger/Ben Chaplin/Hayley Atwell.
This spring Disney brings another of their beloved royalties to the big screen in the live action version of Cinderella. All glass and little substance, the film is clearly geared towards children and lacks much to make it memorable.
Well known Shakespearean maven and now director, Kenneth Branagh (Thor & Jack Ryan: Shadow Recruit) tackles this literal live action rendition of Cinderella with little creativity and far less wit. His fairy tale world looks too commercially cooky and lacks much depth from its central character. Lily James, mostly known from Downtown Abbey, is beautiful, blonde, but a little to saccharine for my tastes. Ella, as she is known prior to her nickname, has a fierceness of character despite the loss of her family but somehow is cloaked with too much breathless adulation on James’ part.
The script from Chris Weitz lifts so much from the beloved 1950 animated version that oftentimes you are left wishing that it was the film you were watching. Right down to the mice, which are incorporated here. Branagh and his cinematographer do bring nice breath and scope to the larger scenes, the dancing scene at the ball is particularly hypnotic. This can also be attributed to Cinderella’s ballgown, made to swish and swirl like the original animated image, it is mesmerizing. What is not is the sadly de-beareded Richard Madden who has lost all his presence as this prince. His Rob Stark from Game of Thrones was a force whereas this white panted prince is not.
Helena Bonham Carter, who plays the fairy godmother, narrates the film, which gives it a storybook quality that is distinctly geared towards children. This is where the film diverges from last year’s similar project, Maleficent, which was able to appeal to a much broader audience. One without children, for example. Maleficent is superior in other ways as its more creative approach to a well known tale brings new life whereas Cinderella falls quite literally flat. This is also the fault of the story as Cinderella is often a victim of circumstance and can do little to change her own path if you will. What message does this send to this children’s audience, really? Another post could be dedicated to just this.
Cinderella in general is faulted with a lot of earnestness and good nature. The lines “have courage, be kind” told Ella by her dying mother, played here by Hayley Atwell, are repeated so often they lose all meaning. The sequence with the most wit and character belongs to Carter’s appearance as the venerable fairy godmother. Carter brings her expert twinkle to a moment that is so iconic it could be boring. Rather her bibbity bobbity boo moments lift Lily James out of the cheerful glib and breathe some humor into making a pumpkin into a carriage. Even menacingly statuesque Cate Blanchett as the evil stepmother cannot compete with her. Blanchett does her best with some limp lines, nonetheless striking in her costumes and dismissive of her daughters which gives much needed comic relief. It is just simply not enough to save this over-produced project, complete with crappy pop song over ending credits.
Singing Sondheim with Success
January 11, 2015
Into the Woods (2014).
D: Rob Marshall. W: James Lapine. DP: Dion Beebe. Starring: Meryl Streep/Emily Blunt/James Corden/Johnny Depp/Anna Kendrick/Chris Pine/Lilla Crawford/Tracey Ullman/Daniel Huttlestone/Christine Baranski/Billy Magnussen/Mackenzie Mauzy/Lucy Punch/Tammy Blanchard. (Based on Stephen Sondheim’s 1987 musical of the same name)
The musical genre has been struggling for a comeback for the last decade. Since 2002’s Oscar winning Chicago, filmmakers and studios have been chasing that same success. Yes 2008’s Mamma Mia made the big bucks, but 2012’s Les Miserables dragged us through three hours of labor and drama. Into the Woods joins a difficult cannon, but I am happy to say it does its Broadway mother justice.
Director Rob Marshall, responsible for both 2009’s Nine and Chicago, is clearly in his element here. Cinematographer Dion Beebe (Edge of Tomorrow) is at his aid again, they worked on both previous musicals together. The pair give space to their actors and thankfully, do not let the camera linger on reaction shots. The entire film has a fantastic sense of space and gives magic to its story without abandoning all realism.
There is definitely a bit of Disney gloss happening here. With a PG rating it is implied that the darker elements of the musical would be toned down, especially with the implications of the Wolf’s song, ‘Hello Little Girl.’ However, Johnny Depp is delicious as The Wolf and the Rat Pack vibe the song is given is simply pure fun. The deaths are also moved off screen and certain story lines are nipped and tucked to clearly fit this ratings margin. By no means is Into the Woods a disappointment for it, but it does change the overall palette of the project, especially the humor. Mostly this is aggravating as regardless, the film to me, is still for adults.
There is also some merging of characters, omissions of songs, and the on stage narrator now is serviced through the Baker’s (James Corden) voiceover. Luckily this voiceover does not inhibit the pacing of the film, though one or two times it feels repetitive. Despite all that Into the Woods pulls stellar performances out of the entire ensemble. The standouts are of course Meryl Streep’s Witch whose costumes (supremely done by Colleen Atwood) and make up merely enhance a fun, dynamic delivery. Chris Pine as Cinderella’s Prince oozes glorious giggle inducing charm with his duet with Rapuzel’s Prince (Billy Magnussen) a highlight, as it is in the show. I am very sad the reprise was cut. The youngsters Lilla Crawford and Daniel Huttlestone are excellent and hold their own with big solos. Emily Blunt’s Baker’s wife is great opposite Corden and Anna Kendrick does well as Cinderella, singing in a very difficult key. Lucy Punch steals a huge laugh as one of Cinderella’s step sisters, still waiting for someone to give her a bigger shot.
Into the Woods is overall an enjoyable addition to the musical genre. The first half is definitely stronger than the second, as it is in the show, but James Lapine adapts his work well. Stephen Sondheim’s music and lyrics actually works well on screen as his walk and sings balance the big numbers with character development. And what happens after ‘ever after’ is so on trend right now its ridiculous. But as a musical lover I couldn’t stop smiling and that is a beautiful thing.
I Know You…
July 20, 2014
Maleficent (2014).
D: Robert Stromberg. DP: Dean Semler. W: Linda Woolverton (based on an amalgamation of the Grimm fairy tale Briar Rose and the 1959’s Disney animated feature). Starring: Angelina Jolie/Elle Fanning/Sam Riley/Sharlto Copley/Juno Temple/Imelda Staunton/Lesley Manville/Brenton Thwaites.
This summer’s Disney revamped fairytale finds Angelina Jolie back on the screen in years and proves that a new take on an old story can actually be done well.
What failed in 2012’s Snow White and the Huntsman (do we even need mention 2012’s Mirror Mirror?) was a new emotional perspective on an old story. Rather than simply tweaking the narrative and giving it a new setting, Maleficent actually builds a back story and world tangential to the original. The film’s emotional center is around Angelina Jolie’s Maleficent, a powerful fairy and guardian of her land, The Moors. Forsaken by her love she becomes the treacherous witch of the fairytale. Without giving much away, Jolie’s physicality is masterful here, her very cheekbones accentuated. Her laugh and ability to emote from such a costume provides the film with enough oomph to entertain older and younger audiences.
In contrast to the dark Jolie is the ethereal Elle Fanning as Aurora. As charming as her turn in 2011’s Super 8, Fanning’s innocent frolic and rosy cheek is infectious and doesn’t feel soiled with too much over production. But the memorable supporting actor here is Sam Riley as Jolie’s bird turned man turned bird who acts as her spy and confidant. A clever take on the animated film, he is a great narrative device as well as an effect.
First time director Robert Stromberg, whose extensive experience as a visual effects supervisor is evident here, is able to blend the effects into the narrative. Stromberg creates a layered world without tricks, which allows Jolie, whose as much of a special effect herself, to feel three dimensional. The film is also well paced by Linda Woolverton, 2010’s Alice in Wonderland scribe. Her twists to the original Grimm fairytale and 1959 Disney animated Sleeping Beauty give the story new depth without losing the charm of its previous incarnations. Although some lines will sound cheesy and simplified, there is enough distraction with good elements that I tended to forgive those moments.
Ultimately what works is the abandonment of a true romantic plot. The film remains centered around a mystical figure who longs to find her place in the order of things. Yet so different to the plot of the animated feature, it still compares in visual scope. Jolie’s costumes themselves pay homage without feeling over done. Maleficent is certainly marketed towards children, but bears less faults than its counterparts in cinemas.